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Catalogue 


An  Historical  Exhibition  of 
Paintings 

to  celebrate  the  opening  of  the 

Catskill  Aqueduct 


BROOKLYN  MUSEUM 

November  First  to  November  Twenty-ninth 
Nineteen  Seventeen 


THE  BROOKLYN  INSTITUTE  OF  ARTS  AND  SCIENCES 


BROOKLYN  MUSEUM 


Eastern  Parkway 


Brooklyn,  N.  Y. 


OFFICERS  OF  THE  BOARD  OF  TRUSTEES 


A.  Augustus  Healy,  President 


George  D.  Pratt, 

First  Vice-President 

Frank  L.  Babbott, 

Second  Vice-President 


Walter  H.  Crittenden, 

Third  Vice-President 

Herman  Stutzer,  C.  E., 

Secretary  and  Acting  Treasurer 


GOVERNING  COMMITTEE  OF  MUSEUMS 


Walter  H.  Crittenden,  Chairman 
George  D.  Pratt 
Herman  Stutzer 
Luke  Vincent  Lockwood 
Samuel  P.  Avery 


Edward  C.  Blum 
George  W.  Brush 
Frank  L.  Babbott 
John  Hill  Morgan 
William  A.  Putnam 


A.  Augustus  Healy,  Ex-officio 


MUSEUM  STAFF 
William  Henry  Fox,  Director 

William  H.  Goodyear,  Curator,  Stewart  Culin,  Curator, 

Department  of  Fine  Arts  Department  of  Ethnology 

Robert  Cushman  Murphy,  Curator,  Susan  A.  Hutchinson, 
Department  of  Natural  Science  Librarian, 

and  Curator  of  Prints 

Mary  B.  Morris,  Thomas  F.  Casey, 

Docent,  and  Membership  Secretary  Business  Manager 

To  Reach  the  Museum:  From  Manhattan,  Subway  Express  to 

Atlantic  Avenue;  thence  by  St.  John’s  Place  car  to  Sterling  Place,  or  by 
Flatbush  Avenue  car  to  Prospect  Park  and  Eastern  Parkway. 


THE  BROOKLYN  INSTITUTE  OF  ARTS  AND  SCIENCES 


BROOKLYN  MUSEUM 


A Special  Historical  Exhibition 
to  celebrate  the  opening  of  the 
Catskill  Aqueduct 

Works  of  American  Painters 

1860-1885 

In  the  American  Gallery  of  the  Museum 


N(jvemhcr  First  to  November  rwenty-ninth 

1!)17 


The  Mayor  of  New  York’s 
Catskill  Aqueduct  Celebration  Committee 


Sub-Committee  on 

Art,  Scientific  and  Historical  Exhibitions 


Chairman 

Dr.  Georgk  Frederick  Ketnz 
1-09  Fie'tii  Avexue 


Universities  and  Colleges 

CoLUJIHIA  I'xiVERSITY 

Dr.  Nicholas  Murray  Butler,  President 
Prof.  William  H.  Carpenter,  Librarian 
Milton  J.  Davies 

New  York  Uxiversity 

Dr.  Fjliner  F.llsworth  Brown,  Chancel- 
lor 

Stevexs  Ixstitltte  oe"  Techxology 

Dr.  Alexander  C.  Humphreys,  President 

College  of  the  City  of  New  York 
Dr.  Sidney  E.  Mezes,  President 

Eearxei)  Societies  ax^d  Ixstitutioxs 
A.viericax  Geographical  Society 
John  Greenough,  President 

New  York  Historical  Society 
Joliii  Aheel  AVeeks,  President 
Itohert  H.  Kelby,  Librarian 

New  York  Gexealogical  axd  Bio- 
GR.vPHicAL  Society 

Capt.  Richard  Henry  Greene,  Repre- 
sentative 

I.ong  Island  Historical  Society 
Judge  Willard  Bartlett,  President 

Brooklyn  Ix^stitltte  of  Arts  and 
Sciences 

Hon.  A.  yVugustus  Healy,  President 

Staten  Island  Association  of  Arts  and 
Sciences 

Hon.  Howard  R.  Bayne,  President 

American  Numismatic  Society 
Edward  T.  Newell,  President 


Cooper  Union  for  the  Advancement  of 
Science  and  Art 

Miss  Sarah  Cooper  Hewitt,  Trustee 
Miss  Eleanor  G.  Hewitt,  Trustee 

American  Scenic  and  Historic  Preser- 
vation Society 

Col.  Henry  W.  Sackett,  1st  Vice- 
President 

Engineering  Societies 
United  Engineering  Society 
Charles  F.  Rand,  President 
Calvin  W.  Rice,  Secretary 

A.merican  Institute  of  Mechanical 
Engineers 

Dr.  Ira  N.  Hollis,  President 

American  Institute  of  Electrical  En- 
gineers 

E.  W.  Rice,  Jr.,  President 

American  Institute  of  Mining  Engi- 
neers 

Philip  N.  Moore,  President 

American  Institute  of  Civil  Engineers 
E.  W.  H.  Pegram,  President 

Libraries 

New  York  Public  Library 

Dr.  Edwin  H.  Anderson,  Director 

New  York  Society  Library 

Frederic  dePeyster  Foster,  Chairman 

Museums 

Metropolitan  Museum  of  Art 

Dr.  Robert  W.  de  Forest,  President 


Museums  (continued) 

Brooklyn  Museum 

William  H.  Fox,  Director 

American  Museum  of  Naturai,  History 

Dr.  Henry  Fairfield  Osborn,  President 

Museum  of  the  American  Inoian 

George  G.  Heye,  Founder 

Van  Cortlanot  Museum  House 

(The  Colonial  Dames  of  the  State  of 
New  York) 

Mrs.  Hamilton  R.  Fairfax,  President 
Mrs.  Elihu  Chauncey,  Chairman 

JuMEL  Mansion,  Washington  Head- 
quarters Association 
(The  Daughters  of  the  American 
Revolution  ) 

Mrs.  George  Wilson  Smith,  President 
William  H.  Shelton,  Curator 

Fraunces’  Tavern 

(The  Sons  of  the  Revolution) 

Henry  Russell  Drowne,  Secretary 

Clurs 

National  Arts  Club 

John  G.  Agar,  President 


City  History  Club  of  New  York 

Mrs.  A.  Barton  Hepburn,  President 

Parks  and  Gardens 

Department  of  Parks,  Manhattan  and 
Richmond 

Hon.  Cabot  Ward,  Commissioner 

Department  of  Parks,  Brooklyn 

Hon.  Raymond  W.  Ingersoll,  Commis- 
sioner 

New  York  Botanical  Garden 

Dr.  Nathaniel  L.  Britton,  Director 

New  York  Zoological  Garden 

Madison  Grant,  Vice-President 

New  York  Aquarium 

Dr.  Charles  H.  Townsend,  Director 

Brooklyn  Botanic  Garden 

Dr.  C.  Stuart  Gager,  Director 

Church 

The  Collegiate  Church  of  St.  Nicholas 
Rev.  Dr.  Malcolm  James  MacLeod, 
Pastor 


PoiiTRAiT  OF  Abraham  Lincoln 


Artist  Unknown 


Introduction 


THI]i  period  marked  by  the  beginning  of  the  modern 
water  supjjly  of  the  city  of  New  York  in  the  opening 
of  the  first  Croton  Aqueduct  in  1851  to  the  recent  opening 
of  the  Catskill  Aqueduct,  is  a period  of  uncommon  activity 
in  the  art  history  of  the  country.  It  began  with  the  rise  and 
popularity  of  the  Hudson  River  School  of  American  land- 
scape painters.  This  group  is  strikingly  represented  in  the 
current  exhibition  at  the  Metropolitan  Museum  of  Art  and 
as  a j^endant,  the  Brooklyn  iVIuseum  offers  as  its  contribution 
to  the  celebration  of  the  Aqueduct  opening  a special  exhibi- 
tion made  up  of  the  works  of  painters  who  might  he  said  to 
succeed  the  Hudson  River  School  and  who  were  especially 
prominent  in  the  quarter  of  a century  which  followed  the 
outbreak  of  the  Civil  War. 

It  is  a difficult  matter  to  affix  rigid  frontiers  to  the  work 
of  the  various  artistic  coteries  as  the  careers  of  their  memhers 
over-lap  one  another,  both  in  years  and  in  the  popularity  of 
their  work.  There  are  those  who  painted  with  the  Hudson 
River  School  happily  still  at  work,  and  some  survive  who 
have  been  in  touch  with  the  contemporaries  of  Gilbert  Stuart. 
Thomas  Sully  lived  to  paint  portraits  to  within  a year  or  so 
of  his  death  in  1872.  Nevertheless  as  seen  in  retrospect  the 
work  of  certain  artists  related  to  each  other  through  their 
common  interest  in  the  same  class  of  subjects  and  to  a certain 
extent  in  their  resemhlance  in  methods  of  work,  are  to  he 
remembered  as  a cohesive  body  and  filling  a fixed  period  to 
the  exclusion  of  others  not  in  sympathy  with  them.  There  is 
no  doubt  that  with  the  opening  of  the  Civil  War  a new  group 
of  painters  distracted  ])uhlic  attention  from  the  placid  and 
poetic  dreamers  of  the  Hudson  River  School,  ddiey  were 
a disorganized  class  of  rugged  and  free  individualists  who 


seemed  to  be  reaching  out  into  new  fields  unknown  to  their 
predecessors.  They  were  characterized  by  little  of  the 
solidarity  of  the  earlier  group.  Everyone  for  himself  was 
their  slogan.  That  at  least  is  the  impression  produced  by  a 
survey  of  the  v^orks  of  this  period  which  lasted  until  the  time 
when  American  artists  began  to  feel  the  overpowering 
influence  of  French  Impressionism  under  Claude  Monet, 
about  1885.  In  a measure  the  artist  reflected  the  kaleido- 
scopic changes  that  were  taking  place — the  abolition  of 
slavery,  the  opening  of  the  West,  the  shortening  of  communi- 
cation between  communities  and  individuals  through  the 
electric  telegraph  and  the  development  of  railroads,  the  rising 
tide  of  business,  speculation  and  wealth,  the  rich  rewards  for 
enterprise  and  personal  initiative — all  this  impelled  these 
highly  individualized  artists,  filled  with  the  new  spirit  of 
courage  and  energy,  to  disregard  tradition  and  the  work  of 
their  neighbors  and  strike  out  for  themselves. 

If  any  common  influence  was  felt  at  this  period  it  was 
exerted  upon  the  comparatively  few  who  had  studied  at  the 
Diisseldorf  Academy  and  their  works  are  far  too  naturalistic 
and  obvious  to  have  any  relation  to  the  Hudson  River  School. 
It  would  seem  almost  that  the  drift  was  away  from  land- 
scape; it  was  man  and  his  works  and  not  inanimate  nature 
which  now  seemed  to  appeal  to  the  artistic  imagination. 
But  in  truth  it  was  simply  that  the  art  of  the  period  was 
heterogeneous  almost  to  the  limit  of  chaos.  The  artist  ex- 
perimented in  all  forms  of  expression.  Genre  in  all  its 
phases  flourished.  Winslow  Homer  began  his  career  as  a 
war  illustrator.  The  tremendous  conflict  of  the  first  four 
years  immensely  stirred  the  patriotism  of  the  generation  and 
caused  a revival  of  historical  painting  as  one  sees  in  the  works 
of  Huntington,  Buchanan  Read,  Leutze  and  Rothermel. 
This  period  also  has  the  honor  of  having  produced  the  poetic 
yet  virile  school  of  nature  lovers  and  interpreters  of  which 
George  Inness  was  the  dean  and  which  is  the  great  glory  of 
American  art.  It  is  the  real  golden  age  of  landscape  paint- 


ing  in  this  country.  The  collection  will  be  found  to  eontain 
characteristic  examples  of  the  works  of  its  leading  men. 

It  is  speeially  gratifying  too  that  the  revival  in  Ameri- 
can historical  painting  is  represented  in  the  exhibition  by  the 
great  work  of  Huntington — -“Lady  Washington’s  Recep- 
tion”— known  to  the  past  generation  by  the  engraving  by  A. 
H.  Ritehie  which  was  a common  possession  of  many  Ameri- 
can households.  This  painting,  the  property  of  the  Hamilton 
Club  of  Brooklyn,  has  been  out  of  publie  view  for  many 
years. 

To  the  officers  and  members  of  the  Club,  therefore,  who 
have  recognized  the  appropriateness  of  this  oecasion  to  per- 
mit the  painting  again  to  he  placed  before  the  eyes  of  the  pub- 
lic and  to  the  possessors  of  other  paintings  exhibited,  the 
Governing  Committee  of  the  Museum  and  the  Cooperating 
Committee  in  charge  of  the  Aqueduct  Celebration  offer  their 
sincere  thanks. 

The  attention  of  the  visitors  is  directed  to  the  arrange- 
ment of  the  collection.  At  the  west  of  the  gallery  will  be 
found  paintings  of  the  early  and  older  American  school, 
including  works  of  the  Hudson  River  painters,  while  to 
balance  them,  at  the  eastern  end  hang  a selection  of  the 
IMuseum’s  paintings  of  the  present  day.  Between  the  two 
are  placed  the  “ACorks  of  American  Painters  1860-188.5.” 
Thus  the  opportunity  is  afforded  to  study,  side  by  side,  the 
characteristics  of  the  main  American  art  periods. 

W.  H.  F. 


Madonna  and  Child 


Robert  L.  Newman 


Catalogue 

BABCOCK,  W.  A.  (1826-1899) 

An  intimate  friend  of  Jean  Francois  Millet.  “W.  A.  Bab- 
cock spent  nearly  all  his  life  at  Barbizon,  and  was  a sym- 
pathetic and  poetic  painter  of  nudes  and  costumed  figures.” 
(From  Sadakichi  Hartmann’s  History  of  American  Art) 

1.  The  Opek  Book.  Property  of  the  Brooklyn  Museum. 

BELLOWS,  ALBERT  F.  (1829-1883) 

Born  at  Milford,  Mass.  At  sixteen  he  entered  the  office  of 
an  architect  of  Boston,  but  finally  turned  his  attention  to  paint- 
ing. Studied  in  Paris  and  Antwerj),  A.  X.  A.,  1859;  N.  A., 
1861.  He  painted  landscapes  and  genre  scenes. 

2.  Springtime.  Loaned  by  Mr.  William  J.  Smith. 

3.  Village  Scene.  Property  of  the  Brooklyn  Museum. 

BIERSTADT,  ALBERT  (1830-1902) 

Born  in  Germany,  he  was  brought  to  Amcric.a  when  an  in- 
fant. He  went  to  Diisseldorf  in  1853  to  study  in  the  Academy 
and  also  went  to  Rome.  Ho  became  member  of  the  Xational 
Academy  of  Design  in  1860.  “The  same  careful  finish  of 
details,  skillful  management  of  light,  and  eye  for  ])ictures(juc 
possibilities  which  made  Bierstadt’s  Old-lVorld  subjects  so 
im])ressivc  and  suggestive,  have  rendered  his  studies  of  Amer- 
ican scenery  full  of  bold  and  true  magnificence.”  (From  Tuck- 
erman’s  Book  of  the  Artists) 

4.  The  Mokteratsche  Glacier,  Upper  Engaihne,  Pontresina. 

I’roperty  of  the  Brooklyn  Museum. 

BOITIIFI’OX,  GEORGE  II.  (1834-1905) 

Born  in  England.  He  was  brought  to  Albany,  X.  V.,  by 
Ids  iiarents  in  1837.  He  went  to  London  in  1853  to  improve 
his  knowledge  of  art  which  he  had  already  studied  in  America 
and  after  a few  years  returned  to  Xew  York  where  he  opened 
a studio.  He  was  made  Xational  Academician  in  1871.  He 
was  also  a member  of  the  Royal  Academy  of  London. 

Pro[)erty  of  the  Brooklyn  Museum. 


5.  Olivia. 


BRADFORD,  WILLIAM  (1830-1892) 

Born  in  New  Bedford,  Mass.  Toward  the  middle  of  his  life 
he  began  painting  ships  in  the  harbor  of  Lynn,  Mass.,  and 
along  the  coast  as  far  north  as  Nova  Scotia  and  Labrador. 
He  made  several  trips  to  the  ice  regions  of  the  North  Amer- 
ican coast  with  Dr.  Hayes  and  other  Arctic  explorers. 

6.  A Whaler  Off  the  Coast  of  Greenland. 

Property  of  the  Brooklyn  Museum. 

CHASE,  WILLIAM  MERRIT  (1849-1916) 

Born  in  Franklin  Township,  Indiana,  he  began  his  art  studies 
in  1868  under  B.  F.  Hayes,  the  portrait  painter.  He  came 
to  New  York  in  1869  where  he  spent  a year  in  the  schools 
of  the  National  Academy.  In  1872  he  went  to  Munich,  studied 
in  the  Royal  Academy  there  and  gained  three  medals.  He  re- 
turned to  the  United  States  in  1878  and  was  elected  National 
Academician  in  1890. 

7.  The  Antiquary’s  Shop. 

8.  In  the  Studio. 

9.  Stilt.  Life.  Property  of  the  Brooklyn  Museum. 

COLEMAN,  CHARLES  CARYL  (born  1840) 

“His  most  characteristic  works  are  studies  of  blossoming 
branches  of  apple  or  plum,  and  where  the  flowers,  studied 
directly  from  nature,  are  yet  arranged  with  such  a balancing 
of  mass,  such  a delicate  choice  of  color  in  the  background  and 
accessories,  and  so  firm  an  accentuation  of  their  outline,  that 
the  canvas  has  a charm  of  decorative  unity.  Coleman  has  not 
made  his  permanent  quarters  at  Rome,  but  has  lived  elsewhere, 
and  even  at  one  time  had  a studio  in  London ; but  of  late  years 
his  home  has  been  in  a villa  at  Capri,  never  to  be  forgotten 
by  its  guests,  with  its  orange  trees,  its  vine-clad  terraces,  and 
its  white  walls  leaning  against  the  steep  hill.”  (From  Samuel 
Isham’s  “History  of  American  Painting”) 

10.  Twenty-two  Studies  in  Pastel  of  Vesuvius,  Capri  and 

Vicinity,  Venice  and  Mont  Blanc. 

Loaned  by  the  artist. 

DE  HAAS,  MAURICE  FREDERICK  HENDRICK  (1832-1895). 
Born  in  Holland.  He  studied  in  the  Academy  of  Fine  Arts 
of  Rotterdam,  and  Jater  went  to  London.  In  1859  he  settled 
in  New  York  and  was  elected  National  Academician  in  1867. 
He  was  essentially  a marine  painter. 

11.  Marine.  Property  of  the  Brooklyn  Museum. 


BURAND,  ASHER  B.  (1796-1886) 

Born  in  New  Jersey,  he  studied  engraving  with  his  father 
who  was  a watchmaker.  Later  he  was  apprenticed  to  the  en- 
graver Peter  Maverick,  whose  partner  he  became  in  1817.  He 
was  one  of  the  original  members  of  the  National  Academy  of 
Design,  organized  in  1826,  of  which  he  became  president  at 
the  resignation  of  S.  F.  B.  Morse  in  1845. 

12.  Landscape. 

13.  The  First  Harvest.  Property  of  the  Brooklyn  Museum. 

DUVENECK,  FRANK  (born  1848) 

Studied  in  Munich  for  a number  of  years  wliere  he  was  a 
pupil  of  Dietz  and  one  of  his  best  followers.  He  obtained  an 
Honorable  Mention  in  Paris  in  1895  and  a special  gold  medal 
for  his  services  to  American  art  at  the  Panama-Pacific  Exposi- 
tion in  1915. 

14.  Head  of  a Man.  Property  of  the  Brooklyn  Museum. 

ELLIOTT,  CHARLES  LORING  (1812-1868) 

Also  spelled  Elliot;  he  was  born  in  Scipio,  New  York;  the 
son  of  an  arcliitect,  and  died  in  Albany,  New  York.  Starting 
as  a clerk  in  Syracuse,  he  went  to  New  York  in  1834,  where 
he  became  a pupil  of  Trumbull.  Eminently  a portrait  painter 
(he  is  said  to  have  painted  more  than  seven  hundred  of  his 
contem])oraries)  he  was  made  A.  N.  A.  in  1845,  and  N.  A.  in 
1846.  His  portrait  of  Fletcher  Harper  was  shown  in  Paris 
at  the  exhibition  in  1867. 

15.  Portrait  of  General  John  C.  Fremont  (The  “Path- 

finder”) Jjoaned  by  Mr.  William  S.  Hughes. 

GIFFORD,  R.  SWAIN  (1840-1905) 

Spent  the  early  part  of  his  life  in  New  Bedford  and  in  1864 
he  opened  a studio  in  Boston.  Settled  permanently  in  New  York 
in  1866.  He  was  a pu])il  of  Albert  van  Bcest,  the  Dutch 
marine  ])ainter.  He  became  National  Academician  in  1878. 

16.  Near  the  Marsh. 

17.  Trees  and  Meadow.  T’roperty  of  +he  Brooklyn  Museum. 

GIFFORD,  SANDFORI)  ROBINSON  (1823-1880) 

Born  in  Saratoga  (’ounty,  N.  Y.,  he  studied  painting  with 
John  R.  Smith  in  New  York  City.  In  1850  he  went  abroad 
visiting  London  and  Paris,  and  in  1 8(50  he  made  a more  ex- 
tensive trip  on  the  continent  and  m b^igypt.  He  was  elected  Na- 
tional Academician  in  1854. 

18.  SrNSE'i'  IN  'I'HK  SiiAWAXorNK  Mofxt.mns. 

lioaned  by  Mi'.  H.  H.  Knox. 


"mil 


SAPIENZArEtNS|ERP_*AN-lttA-llT^tJM/iTV|&iiAR/AQNtA*A/n6RE*CQU5RF.-FQB/T^^^^ 


Rome,  Representative  of  the  Arts  Elihu  Vedder 

GIGNOUX,  REGIS  (1816-1882) 

Born  in  Lyons,  France.  He  was  a pupil  of  Paul  Delaroche 
and  of  the  Ecole  des  Beaux-Arts  in  Paris.  He  came  to  Amer- 
ica in  1841  and  was  elected  a member  of  the  Academy  of 
Design  in  1851.  He  was  the  first  president  of  the  Brooklyn 
Art  Academy. 

19.  The  Hudson  River  in  Autumn. 

20.  Winter  Scene.  Property  of  the  Brooklyn  Museum. 

HART,  JAAIES  M.  (1828-1901) 

Brother  of  William  Hart;  he  was  born  in  Scotland,  and  was 
brought  to  America  as  a child  by  his  parents.  In  1851  he 
went  to  Diisseldorf  where  he  studied  under  Schirmer.  In  1856 
he  opened  a studio  in  New  York  and  was  elected  National 
Academician  in  1859. 

21.  On  the  Way  Home.  Property  of  the  Brooklyn  Museum. 

HART,  IVILLIAM  (1822-1894) 

Brother  of  James  M.  Hart;  he  was  born  in  Scotland  and 
was  brought  to  the  United  States  in  childhood.  Self-taught. 
He  became  National  Academician  in  1858. 

22.  Landscape — Lake  George. 

Loaned  by  Mrs.  George  Silas  Coleman.. 

23.  Near  Hureey,  Ulster  Co.,  N.  Y. 

Property  of  the  Brooklyn  Museum^ 


HOMER,  WINSLOW  (1836-1910) 

Born  in  Boston;  pupil  of  National  Academy  of  Design  and 
F.  Rondel,  but  mainly  self-taught.  At  nineteen  he  was  a lithog- 
rapher in  Boston;  settled  in  New  York  in  1859.  During  the 
Civil  War  he  contributed  a number  of  war  pictures  to  “Har- 
per’s Weekly.”  He  was  elected  National  Academician  in  1865. 

24'.  The  Uxkuey  Calf. 

25.  Childrex  Ox  the  Beach. 

Property  of  the  Brooklyn  Museum. 

(In  addition  there  are  thirty-eight  water  colors  by  this  ar- 
tist on  exhibition  in  the  galleries.) 

HUNTINGTON,  DANIEL  (1816-1906) 

Born  in  New  York.  He  was  a pupil  of  S.  F.  B.  Morse  and 
Henry  Inman.  In  1839  and  in  1844  he  went  to  Italy.  In 
1850  an  exhibition  of  his  works  in  New  York  attracted  con- 
siderable attention.  He  was  the  third  president  of  the  Na- 
tional Academy  of  Design  (1862). 

26.  Lady  Washixgtox’s  Receptiox. 

Origixal  Sketch. 

Engraving  of  the  subject  by  A.  H.  Ritchie. 

Key  to  above. 

imaned  by  the  Hamilton  Club,  Brooklyn. 


INNESS,  GEORGE  (1825-1894.) 

Born  in  Nowburg,  N.  Y.  Studied  art  in  Newark,  N.  J., 
and  engraving  in  New  York,  which  by  reason  of  ill-health  he 
was  forced  to  abandon.  In  1846  he  began  the  practice  of 
his  profession  as  a landscape  painter,  passing  a few  months 
in  the  studio  of  Regis  Gignoux.  He  made  several  visits  to 
Europe  for  tlie  purpose  of  observation  and  study,  remaining 
in  Italy  from  1871  to  1875.  He  was  made  National  Acad- 
emician in  1868. 

27.  The  Glow. 

28.  Indian  Summer. 

29.  June. 

30.  Sunrise. 

31.  The  Roman  Campagna. 

Loaned  by  Mr.  Herbert  H.  Knox. 

32.  The  Old  Roadway. 

Loaned  by  the  L.  I.  Historical  Society. 

33.  On  the  Delaware  River. 

34.  Royal  Beech  in  Lyndhurst  Forest. 

35.  A Summer  Morning. 

36.  The  Old  Farm.  Property  of  the  Brooklyn  Museum. 

JEFFERSON,  JOSEPH  (1829-1905) 

Born  in  Philadelphia.  He  was  an  eminent  actor  w'ho  de- 
voted much  of  his  leisure  to  the  study  of  landscape  painting. 

37.  In  the  Birch  Woods.  Property  of  the  Brooklyn  Museum. 

JOHNSON,  EASTMAN  (1824-1906) 

Born  in  Lovell,  Maine.  He  studied  in  Diisseldorf,  Rome, 
Paris  and  The  Hague.  He  had  a studio  in  New  York.  He 
was  made  a member  of  the  National  Academy  in  1860. 

38.  The  Savoyard  Boy.  Property  of  the  Brooklyn  Museum. 

KENSETT,  JOHN  FREDERICK  (1818-1872) 

Born  in  Connecticut.  After  studying  engraving  under  Dag- 
get,  he  went  abroad  where  he  studied  painting  for  seven  years. 
He  first  exhibited  at  the  Royal  Academy,  London,  in  1845. 
Elected  National  Academician  in  1849. 

39.  An  Island  Pond,  Near  Newport,  R.  I. 

Loaned  by  Mr.  John  Hill  Morgan. 

40.  Mount  Lafayette,  N.  H. 


Loaned  by  Mr.  Herbert  L.  Pratt. 


LA  LARGE,  JOHN  (1835-1910) 

Figure,  flower  and  landscape  painter,  eminent  also  as  a mural 
painter  and  as  a designer  of  stained  glass  windows.  He  occu- 
pied a studio  in  New  York  for  some  years  and  was  elected  a 
member  of  the  National  Academy  in  1869. 

41.  Adoration. 

42.  Adoration. 

43.  Angel  of  the  Sun. 

44.  Female  Centaur. 

45.  Head  of  the  Angel  of  the  Annunciation. 

Property  of  the  Brooklyn  Museum. 

MARTIN,  HOMER  D.  (1836-1897) 

Native  of  Albany,  N.  Y.  With  the  exception  of  a few 
weeks  study  under  William  Hart,  early  in  his  career,  he  was 
entirely  self-taught  as  an  artist.  For  many  years  he  had  a 
studio  in  New  York  City.  He  became  a National  Academician 
in  1875. 

46.  Ontario  Sand  Dunes. 

47.  Normandy  Coast.  Property  of  the  Brooklyn  Museum. 

48.  Sunset.  Loaned  by  Mrs.  Henry  L.  Quick. 

MIGNOT,  LOUIS  R.  (1831-1871) 

Born  in  Soutli  Carolina.  He  spent  some  years  in  study  in 
Holland;  upon  his  return  lived  in  New  York,  and  ivas  made  a 
member  of  the  National  Academy  in  1859.  Ltpon  the  secession 
of  his  native  state  from  the  Federal  Union  in  1861  lie  removed 
to  London,  where  he  spent  the  rest  of  his  life. 

49.  Niagara.  Loaned  by  Mr.  Arthur  S.  Fairchild. 

MILLER,  CHARLES  H.  (born  1842) 

Born  in  New  York.  Studied  medicine,  and  graduated  in 
1863.  During  his  medical  course  he  painted  occasional  pic- 
tures, and  first  exhibited  at  the  National  Academy  in  I860, 
“The  Challenge  Accepted.”  In  1864  he  went  to  Europe,  and 
again  in  1867,  visiting  the  art  centers,  and  finally  settling  in 
Munich,  where  he  remained  three  years,  and  became  a student 
of  Professor  Lier  and  of  the  Bavarian  Royal  Academy.  He 
made  frequent  excursions  to  Dresden,  Vienna  and  Berlin.  He 
became  National  Academician  in  1875. 


50.  Sunset  at  East  Hampton. 


lioaned  hv  the  artist. 


Female  Centaur 


John  La  Farge 


MINOR,  ROBERT  C.  (1840-1904) 

Born  in  New  York;  studied  art  in  Paris  under  Diaz,  and 
in  Antwerp  under  Van  Luppen,  Boulanger  and  others,  travel- 
ing through  Germany  and  Italy  for  some  time.  His  studio 
was  in  New  York,  and  he  exhibited  at  the  National  Academy, 
in  Brooklyn,  Chicago,  and  elsewhere  in  America. 

51.  On  the  Upper  Thames,  Conn. 

52.  The  Creel.  Property  of  the  Brooklyn  Museum. 

NEWMAN,  ROBERT  L.  (1827-1911) 

“ ...  is  a colourist  in  tlie  sense  of  the  old  masters.  He  ex- 
cels in  ricliness  and  satiety  of  separate  tones,  and  is  clever  in 
bringing  them  into  proper  relationship.  His  Madonnas,  Red 
Riding-Hoods,  reading  girls,  classical  figures  with  animals, 
‘Christ  walking  on  the  Sea,’  etc.,  are  colour  dreams  pure  and 
simple.”  (From  Sadakichi  Hartmann’s  History  of  American 
Art) 

53.  Madonna  and  Child.  Property  of  the  Brooklyn  Museum. 

54.  Landscape  avith  Woman  and  Child. 

55.  Christ  Saving  Peter. 

56.  Two  Girls  with  Dolls. 

57.  Mother  and  Child  and  Two  Children  Presenting  a Lily. 

58.  Head  of  a Girl. 

59.  Girls  Reading. 

60.  Children  Playing. 

61.  The  Fortune  Teller. 

Loaned  by  Mr.  Nestor  Sanborn. 

PARTON,  ARTHUR  (1842-1914) 

Born  at  Hudson,  N.  Y. ; studied  under  William  T.  Richards 
of  Philadelphia,  spending  his  professional  life  in  the  City  of 
New  York.  He  went  to  Europe  in  1869,  and  returned  to 
America  the  next  year;  he  was  elected  an  Associate  of  the  Na- 
tional Academy  in  1872. 

62.  Misty  Morning.  Coast  of  Maine. 

Property  of  the  Brooklyn  Museum. 

RICHARDS,  WILLIAM  T.  (1833-1905) 

Born  in  Philadelphia;  in  1835  he  went  to  Europe,  spending 
a vear  in  study  and  observation  in  Florence,  Rome  and  Paris. 
In  1856  he  opened  a studio  in  Philadelphia,  and  in  1866  re- 
turned to  Europe  for  a sliort  visit.  He  was  an  Honorary 
Member  of  the  National  Academy  of  Design  and  an  Associate 
Member  of  the  Water-Color  Society. 

63.  On  the  Coast  of  New  England. 

Property  of  the  Brooklyn  Museum. 


ROTHERMEL,  PETER  F.  (1817-1895) 

“He  was  brought  up  as  a surve3^or,  and  did  not  devote  him- 
self to  the  study  of  art  until  he  was  twenty-one  years  of  age. 
In  1840  he  began  the  active  practice  of  his  profession  by  the 
painting  of  portraits.  In  1856  he  went  to  Europe,  spending 
some  time  in  the  art  centers  of  the  Continent,  painting  his  first 
historical  picture,  and  later  making  that  class  of  subjects  a 
specialty.  He  was  commended  for  excellence  in  historical 
painting.”  (From  Clement  and  Hutton’s  “Artists  of  the  Nine- 
teenth Century,”  Vol.  II.)  His  “Battle  of  Gettysburg”  is 
now  in  the  Pennsylvania  State  Capital. 

64.  The  Martyrdom  of  St.  Agnes. 

Loaned  by  Mrs.  William  H.  Fox. 

RYDER,  ALBERT  P.  (1847-1917) 

“ . . . This  effect  is  heightened  in  Ryder’s  works  by  his 
execution,  by  his  manipulations  of  paint  and  varnish  as  sub- 
stances capable  of  being  made  beautiful  in  themselves,  as  well 
as  in  pattern  and  color.  Some  of  them  suggest  the  lacquer 
work  of  Korin,  as  when  a red  stag  flees  through  dark  depths 
of  varnish  beneath  a streak  of  yellow  sky,  or  patches  of  silvery, 
moon-lit  cloud  spot  against  the  deep  blue  behind  a brown  tree.” 
(From  Samuel  Isham’s  History  of  American  Painting) 

65.  Autumn’s  Goeden  Pathway. 

66.  Evening  Glow,  The  Old  Red  Cow. 

67.  The  Grazing  Horse. 

68.  Moonrise. 

69.  The  Sheepfold. 

70.  The  Shepherdess. 

71.  Summer’s  Fruiteul  Pasture. 

72.  The  Waste  oe  Waters  is  Their  Field. 

Property  of  the  Brooklyn  Museum. 

73.  Horse  in  Stall.  Loaned  by  Mr.  A.  Augustus  Healy. 

SHIELDS,  THOMAS  W.  (born  1849) 

A Canadian  painter  in  the  United  States.  Born  at  St. 
John’s,  New  Brunswick,  of  English  parents ; resident  of  Brook- 
lyn; devoted  to  historical  and  classical  subjects;  pupil  for 
three  years  of  the  N.  A.  D.  under  Prof.  Wilmarth.  He  studied 
ten  years  abroad  under  Gerome,  Carolus-Duran,  Jukes  Lefebvre 
and  others. 


74.  Mozart’s  Requiem. 


Loaned  by  the  artist. 


TILTON,  JOHN  ROLLIN  (born  1883) 

Born  in  London,  N.  II.  He  has  been  a close  student  of  the 
Venetian  school  of  painting,  especially  of  Titian,  but  is  a gradu- 
ate of  no  art  acadeniy,  and  has  studied  under  no  master.  His 
professional  life  has  been  spent  in  Italy,  chiefly  in  R omc. 

75.  Paestum.  Property  of  the  Brooklyn  Museum. 

ULRICH,  CHARLES  FREDERIC  (1858-1908) 

“ ...  is  known  for  his  conscientious  studies  of  the  labour- 
ing class  of  our  manufacturing  era,  like  his  ‘Glass  Blowers,’  and 
his  ambitious  ‘Promised  laind,’  representing  immigrants  arriy- 
ing  at  Castle  Garden,  treated  with  all  the  strength  and  skill  of 
the  best  German  art  of  this  kind,  though  rather  restless  in 
colour.”  (From  Sadakichi  Hartmann’s  “History  of  American 
Art,”  Vol.  II) 

76.  Head  of  an  Old  IMan.  Property  of  the  Brooklyn  Museum. 


VAN  ELTEN,  KRUSEMAN  (1829-1904) 

Born  in  Alkmar,  Holland ; Associate  of  the  National  Acad- 
emy, New  York;  and  member  of  the  American  Society  of 
Painters  in  Water-Colors.  Medals  at  Amsterdam  in  1860,  and 
at  Philadelphia  in  1876.  He  was  instructed  in  drawing  in  his 
natiye  town,  and  in  1 844  went  to  Haarlem  and  studied  painting 
under  C.  Lieste  and  other  masters.  His  professional  life  has 
been  spent  in  Haarlem,  Amsterdam,  Brussels,  and  New  York, 
and  he  has  made  sketches  in  Germany,  Austria,  Switzerland, 
France,  and  England. 

77.  Landscape.  Property  of  the  Brooklyn  Museum. 

VEDDER,  ELIHU  (horn  1836) 

Born  in  New  York;  hccamc  a pupil  of  T.  II.  Matteson  at 
Sherbourne,  N.  Y.  After  some  years  spend  in  Italy  iu‘  ojicncd 
a studio  in  New  York  for  a short  time,  hut  has  remained  in 
Italy  the  greater  part  of  his  life,  where  he  still  resides. 

78.  An  Enigma  of  the  Sea.  Loaned  by  Mr.  S.  S.  ( umniins 

79.  Rome,  REPRESENTATiyp.  of  the  .\ins. 

(Design  for  Imncttc  in  Boydooi  ( ollege) 

I’roperty  of  the  Brooklyn  .Museum. 


WYANT,  ALEXANDf:R  H.  (1836-1892) 

Born  in  Ohio ; began  his  professional  career  as  a landscape 
painter  in  Cincinnati.  He  spent  some  years  in  Diisseldorf, 
wliere  he  studied  under  Hans  Gude  ;subsequently  he  studied  in 
London,  and  rturned  to  America,  settling  in  New  York  in  1864 
or  ’65.  His  first  picture,  exhibited  in  New  York,  “A  View  of 
the  Valiev  of  the  Ohio  River,”  was  at  the  National  Academy 
in  1865.  ' 

80.  A Grky  Day.  Loaned  by  Mr.  William  A.  Putnam. 

81.  Kkexe  Vaiu.ey. 

82.  Mooniught  and  Frost.  Property  of  the  Brooklyn  Museum. 

UNKNOWN  ARTIST. 

83.  Portrait  of  Abraham  Lincoln. 

This  portrait  is  supposed  to  have  been  painted  by  a French 
artist  visiting  the  United  States  during  the  Civil  War.  The 
original  owner  was  a French  resident  of  Washington,  D.  C. 

Property  of  the  Brooklyn  Museum. 


Children  on  the  Beach 


Winslow  Homer 


THE  BROOKLYN  INSTITUTE  OF  ARTS  AND  SCIENCES 


BROOKLYN  MUSEUM 


Eastern  Parkway 


Brooklyn,  N.  Y. 


The  Museum  is  open  from  9 a.  m.  to  6 p.  m.,  Monday  to  Saturday 
(inclusive).  Thursday  evening,  from  7:30  to  9:45.  Sunday  after- 
noon, from  2 to  6.  The  Museum  is  free  to  the  public,  except  on 
Monday  and  Tuesday,  when  the  admission  is  25  cents  for  adults  and 
10  cents  for  children  under  16  years.  Free  on  all  Holidays  even 
when  these  fall  on  Monday  or  Tuesday;  free  to  teachers  with  their 
classes  at  all  times,  including  pay  days. 

The  collections  of  the  Museum  comprise  Exhibits  in  the  Fine  Arts, 
in  Natural  Science  and  in  Ethnology. 

The  services  of  the  Docent  are  available  by  appointment  to  per- 
sons desiring  guidance  in  visiting  the  Museum.  Address  the  Docent 
also  for  information  relating  to  special  privileges  extended  to  teach- 
ers, pupils,  and  art  students;  for  the  use  of  classrooms,  and  of  the 
Museum’s  collection  of  lantern  slides. 

The  Museum  Library  containing  more  than  22,000  volumes  is 
open  for  reference  daily  from  9 a.  m.  to  5 p.  m.,  on  Sunday  from 
2 to  6 p.  M.,  and  Thursday  evening  from  7 :30  to  9 'AS. 

The  publications  of  the  Museum  comprise  the  Museum  Quar- 
terly Review,  the  Annual  Report,  Memoirs  of  Art  and  Archasology, 
Memoirs  of  Natural  Science,  Science  Bulletins,  and  Catalogues  and 
Guides  relating  to  the  collections  on  exhibition. 


